In “The Return, Half 12,” Sarah Palmer warns her younger cashier, and us, “Issues can occur! One thing occurred to me.” In “The Return, Half 15,” one thing is going on, and as entertaining because the present’s winding, ominous roads have been, it’s energizing to see the present attain a crossroads, even when it’s not clear what lies forward. No matter is going on in “Half 15,” it’s turning up the electrical energy and cranking up the quantity. Everybody on Twin Peaks is on the brink of one thing, and the great, the dangerous, and the ugly are all revving up into the pink.
Let’s begin with the great, the candy, the long-awaited. Massive Ed Hurley’s bought his freedom, joyously volunteered by Nadine, who walked all the way in which to the Gasoline Farm to inform him the excellent news. Norma lets Ed wait an agonizing jiffy, however then she will get her freedom, too—from the laborious work of parrying the franchise’s calls for. She’s liberating herself as much as spend extra time at residence together with her household. “I believed you instructed me you don’t have any household” Walter says, nearly accusatory. However she does have a household, and now he’s free to be together with her and she or he’s free to be with him.
The digital camera, the lighting, and the postures of the actors do nothing to disguise Peggy Lipton and Everett McGill’s age, as a result of their age is a part of their love story. As Ed bounces into the Double R, Otis Redding sings “I’ve Been Loving You Too Lengthy”; as Ed sits together with his espresso, bereft that Norma’s walked away from him, Redding sings, “My love is rising stronger as our affair grows outdated.” Their love isn’t younger, it isn’t giddy, it isn’t budding. Their love is in full flower—or, as Harriet Hayward would possibly put it, in “the complete blossom of the night.” The night of their lives is right here, they usually’re going to spend it collectively. After eager for one another their total grownup lives, it’s a second price savoring, and the digital camera lingers for a protracted minute on the blue sky as if to present us, and them, a window of serenity to take pleasure in it.
If Ed and Norma are getting into their night, Margaret Lanterman has reached the evening. As soon as once more calling Hawk with recommendation, Margaret tells him, “I’m dying.” Hawk has the quiet compassion to easily say “I’m sorry, Margaret,” then belief her to know he’s listening, and Michael Horse has the gravitas to present that stillness its personal depth. Within the premiere, “Hawk and Margaret’s ‘goodnight’s have been actually goodbyes,” they usually keep that solution to the final; even ending this final telephone name, Hawk gently says, “Good evening, Margaret,” solely including “Goodbye, Margaret” after the decision is ended.
However Catherine E. Coulson carries this scene, her facet of which was filmed earlier than her loss of life in 2015. She delivers traces like, “You realize about loss of life, that it’s only a change, not an finish” and “There’s some worry. Some worry is letting go” on to the digital camera, her eyes glimmering with worry, sorrow, resignation, braveness, and, above all, life. Margaret’s monologue is an unflinchingly frank final efficiency from Coulson and a well-deserved elegy for the actor and the character—so well-deserved that although the premiere was partly devoted to the reminiscence of Catherine E. Coulson, “Half 15” is devoted to the reminiscence of Margaret Lanterman.
Whereas Norma and Ed are discovering the peace of a long-denied love lastly allowed to bloom and Margaret is assembly her loss of life with dignity, a contact of worry, and a remaining piece of recommendation for Hawk, Gersten Hayward and Steven Burnett are cowering within the woods, crying in every others’ arms as she tries to speak him out of capturing himself.
Stunned by a person strolling his canine, Gersten runs behind the huge tree the place they’ve nestled, then hears the one shot of Steven’s gun. Like Norma and Ed’s modest love scene, this scene with Steven and Gersten ends with the digital camera panning throughout the sky, this time as Gersten stares vacantly up on the treetops, unable to examine on Steven just some toes away.
Distant in Las Vegas, one other pair of lovers stare up on the sky. As snug strutting right into a luxurious nook workplace in Louboutins as she is hunkered down in a sniper’s van gnawing on Cheetos, Chantal kills Duncan Todd and his assistant in seconds and returns to their van the place Hutch is ready together with her dinner, able to preach about their murders as only one extra piece of the American dream. “It’s a nation of killers,” Hutch tells her as she nods and chomps into her burger. Collectively, they crane to search for on the stunning sky, and collectively they pledge their love to one another.
Additionally in Vegas, Janey-E Jones is content material. “It’s like all our desires are coming true,” she tells the person she thinks is Dougie. Apparently Janey’s made room in her desires for a bumbling, parroting husband incapable of impartial thought or motion. Then, thrillingly, Dale Cooper reveals himself able to extra impartial motion than at any time since his return. As he sits, obediently consuming his chocolate cake and fidgeting with objects on the desk earlier than him, he by chance activates the tv.
Sundown Boulevard appears to seize his consideration, however not more than a flag or The Clapper. At first, I believed it was Norma Desmond (Gloria Swanson) rejoicing on the considered “the outdated staff collectively once more“ that sparked his curiosity, however as an alternative it’s Cecil B. DeMille muttering to an underling to “Get Gordon Cole” on the telephone that galvanizes Dale Cooper. Simply grabbing for the distant to show up the quantity shows extra motion and company than all his wandering, doodling, and fortuitous fumbling since he’s returned to this airplane.
However when he grabs his fork and crawls throughout the carpeted flooring towards outlet (and towards the digital camera in a scene paying homage to Bob clambering his approach by way of the Palmers’ front room), it’s electrifying in a couple of approach. Lastly, Dale Cooper is on the brink of returning to himself.
Audrey Horne is on some form of threshold, too, and reluctant to be there. For 3 episodes now, she’s been attempting to steer Charlie to take her to the roadhouse to search for Billy. Now that Charlie’s lastly able to step out the door, Audrey’s the one dragging her heels. This dialog (additionally drawn out over three episodes) is deeply unusual, uncanny even within the Lynchian world. The tone of their dialogue isn’t in key with the content material. Charlie’s deadpan and Audrey’s bewilderment make it sound like he’s tormenting her even when he’s simply repeating information. Then once more, that’s the character of gaslighting. It sounds eminently cheap, which is why it’s such torment.
However Charlie isn’t the one stopping Audrey from opening the door, from leaving this home that’s the solely place she’s been proven in Twin Peaks: The Return. In “Half 15,” every time Charlie prods her to place her coat again on to allow them to head to the roadhouse, Audrey distracts him by selecting one struggle after one other. “You’re the one which wished to go to the roadhouse, not me,” he factors out, and Audrey shoots again, “It’s inconceivable!” apparently about attempting to purpose with him, but additionally maybe concerning the act of crossing that threshold. In tragic Lynch custom, Audrey appears to be in a liminal place that mimics the true world (or, as Dale Cooper would possibly say, what we understand as the true world) eerily nicely, however with just a few uneasy lapses. And she or he’s both unable or unwilling to check the brink.
Darkish Coop crosses threshold after threshold seeking Phillip Jeffries. He climbs a staircase outdoors the terrifying comfort retailer the place the woodsmen congregate, vanishing as he ascends, climbs one other staircase, then is led down a hall (which sparkles out and in of existence within the woods), solely to search out himself in a motel parking zone. It’s just a little journey of impossibility making ready him, or us, for his equally inconceivable assembly with Phillip Jeffries.
David Bowie’s 2016 loss of life made it inconceivable for him to reprise his function besides in footage from Hearth Stroll With Me. In “Half 15,” the long-missing Jeffries is portrayed as a creaky pylon respiration out smoke (and Jeffries’ phrases, voiced by Nathan Frizzel). The-Dalek-that-would-be-Jeffries exhales in its smoke a collection of numbers that Darkish Coop jots down, however in any other case their dialog (about Ray, about Judy, about who’s been calling Darkish Coop) appears to spin in circles.
Issues can occur. As Sarah Palmer’s struggling, Margaret Lanterman’s loss of life, Nadine’s epiphany, and Ed and Norma’s love present, issues will occur, good or dangerous. It’s only a query of attending to the crossroads, of working up your nerve to cross the brink. In “The Return, Half 15,” Twin Peaks has crossed the brink, and it appears like a promising level of no return.
- When Frank Truman hears the Log Woman has died, he removes his hat.
- For these of you protecting observe of Twin Peaks’ numbers, Dougie and Janey-E’s avenue tackle is 25140 Lancelot Court docket.
- Steven ponders the character of loss of life, which he describes as “going up”: “After I see you come up… however I could not even see you there. I imply, gone. The place will I be? Will I be with the rhinoceros? The lightning within the bottle? Or will I be fully turquoise?”
- That’s Charlyne Yi crawling by way of the gang on the roadhouse, first weeping, then screaming.
- It’s price noting, weeks later, that Charlie does inform Audrey one large fats gaslighting lie of their first dialog we witness. “Audrey,” he says oh-so-tolerantly, “you already know I don’t have a crystal ball.” Proper in entrance of him as he says it’s… a crystal ball.